Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from St Kitts & Nevis and from Philadelphia.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1962 to 1973.
I'm losing my edge.
To all the kids in Shanghai and Toronto.
I'm losing my edge to the art-school Beijing kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1983 at the first Art of Noise practice in a loft in London.
I was working on the sitar sounds with much patience.
I was there when Tom Verlaine started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Thee Headcoats to the grunge kids.
I played it at the Troubador.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Kevin Saunderson. All the underground hits.
All Archie Shepp tracks. I heard you have a vinyl of every Zero Boys record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Louis and Bebe Barron record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slits,
Pole,
Symarip,
John Cale,
Yazoo,
Sparks,
Delon & Dalcan,
T.S.O.L.,
Cluster,
The Velvet Underground,
The Alarm Clocks,
OOIOO,
World's Most,
Sonic Youth,
Popol Vuh,
Jacques Brel,
Junior Murvin,
Colin Newman,
Hasil Adkins,
Slick Rick,
The Mighty Diamonds,
Yaz,
New Age Steppers,
Peter Gordon & Love of Life Orchestra,
Louis and Bebe Barron,
Grandmaster Flash,
Carl Craig,
The Golliwogs,
The Barracudas,
Radio Birdman,
Matthew Bourne,
Sällskapet,
Matthew Halsall,
The Detroit Cobras,
Rowland S Howard / Lydia Lunch,
Joe Smooth,
Japan,
The Litter,
Porter Ricks,
Brass Construction,
The Black Dice,
Electric Light Orchestra,
The Zeros,
The Modern Lovers,
MDC,
Minutemen,
The Human League,
Soulsonic Force,
Art Ensemble Of Chicago,
Dorothy Ashby,
Lonnie Liston Smith,
Graham Central Station,
Eddi Front,
Easy Going,
Drexciya,
Bush Tetras,
The Trojans,
Pylon,
The Music Machine,
Organ,
June Days,
Gabor Szabo,
Main Source, Main Source, Main Source, Main Source.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.